Published by Kodansha in 1999, Katsuhiko Takahashi's 2000 Yoshikawa Eiji Literature prize-winning novel Fiery Enmity: Hero of the North (The Legend of Aterui) will be adapted to the stage. In the 8th century, while expanding its dominion to the Tohoku area, the Yamato Imperial Court seeks to conquer Ezo. Aterui, the young leader of Ezo, stands up to protect his hometown and joins forces with his allies in the hopes of defeating the imperial forces. However, triumph leads to more battles and before long, the fate of the Emishi people falls into the hands of Sakanoue no Tamuramaro, the imperial army's trump card. Aterui's drive to protect the pride of the Emishi people will be entangled in fierce battle within this spectacular musical work.
All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.
Overall, 18 Presents feels more like a soap opera than a drama, and I feel bad for saying that since the concept is based off a tragic story (even though it’s loosely). I’m sure other people will find this film emotional for them, but as for me, it’s bland and forgettable.
The more biting satire is reserved for those on top of the power structure, such as the police, while those occupying lower levels are given more nuance and likability, even if they operate on the wrong side of the law. This principle gives Deep Cover its heart.
'Tuca and Bertie' (2019) is an animated series centering around best friends of the same name as they traverse the challenges of their thirties.
"Boston Strangler" pulls the curtain back on a well-documented historical moment involving significant contributions from women reporters.
It’s been awhile since I’ve seen a film that is jarring within the first five minutes. Being at the edge of my seat from the very beginning made me feel both excited and frightened for what was to come, and it did not disappoint. Led strongly by Jennifer Lawrence as Grace, a woman trapped in the “American dream”, this film shows that society tells us what should make us happy. Many critics describe Die My Love as being about post-partem depression, but it is so much more. After moving to a secluded home with her husband Jackson, Grace finds herself in the throes of motherhood. Feeling isolated in her physical environment and her romantic relationship, Grace suffers psychologically. Lawrence brings a sense of rawness and humor to the screen that is often uncomfortable. Robert Pattinson adds to the discomfort as her loving, yet lost husband Jackson, who cares about his wife but does not know how to help her. Lynne Ramsay has presented a film that forces us to look at the realness of life, and what happens when the promise of what should make you whole fails.
